Zizek's article also mentioned the "outsourcing" of torture, just like the outsourcing of the "dirty" process of material production: "Torture is nowadays 'outsourced' to Third World allies of the US, which can practise it without worrying about legal liability or public protest.

Interestingly, in the same 12-page tabloid-sized "Re|view" supplement of the Australian Financial Review which reprinted the Zizek article, there was a satirical piece on outsourcing - I was only doing my job ... or not - a reprint of Cullen Murphy's article "Let Someone Else Do It" in The Atlantic (Nov 04). Murphy observed that "so, too, sometimes, is torture [outsourced to the private sector], as Abu Ghraib scandal reveals, although the more common practice is for squeamish governments (i.e. ours) to outsource problematic interrogations to less squeamish governments (Cairo, Manila) - a practice that goes by the artfully bland term "rendition"."

2004-10-30

Slavoj Zizek wrote in "Knee-Deep" (The London Review of Books, 2/9/04, reprinted in Australian Financial Review, 29/10/04):

"In a traditional German toilet, the hole into which shit disappears after we flush is right at the front, so that shit is first laid out for us to sniff and inspect for traces of illness. In the typical French toilet, on the contrary, the hole is at the back, ie shit is supposed to disappear as quickly as possible. Finaly, the American (Anglo-Saxon) toilet presents a synthesis, a mediation between these oposites: the toilet basin is full of water, so that the shit floats in it, visible, but not to be inspected."

Why is he writing such shitty stuff in an article reviewing Timothy Garton Ash's new book "Free World: Why a Crisis of the West Reveals the Opportunity of Our Time"? Well, he is trying to illustrate that each toilet design reflects "a certain ideological perception of how the subject should relate to excrement" in the "European Trinity" of Germany, France and the UK. Perhaps he believes that this observation is as insightful as Hegel on their existential attitudes: German reflective thoroughness, French revolutionary hastiness and English utilitarian pragmatism.

According to Zizek, "it is easy for an academic at a round table to claim that we live in a post-ideological universe, but the moment he visits the lavatory after the heated discussion, he is again knee-deep in ideology". Hence the title of the article!

Well, I have never been to Germany, and I regret not having paid much attention to toilet design when I visited France. I always have the impression that there are only two types of toilets in the world: The full-of-water type in the more developed world, and the "no-water-no-hole toilet" in the more underdeveloped, agrarian world. Naive me!

Not only did she characterise the album as "startlingly beautiful, characteristically challenging", startlingly ( :-) ) she even claimed that "the man can sing. Indeed, the 70-year-old pipes have developed not only gravitas, but a deeper sensitivity to melody."

"What makes Dear Heather tick are the ladies who look back: longtime co-composer/producer Sharon Robinson and producer-engineer Leanne Ungar, as well as occasional co-lead vocalist Anjani Thomas ... Sometimes their work evokes wood paneling and tip jars ("Go No More A-Roving," with words by another famous poet, Lord Byron); sometimes it's stark (the spoken-with-piano "Villanelle for Our Time"); sometimes subdued and trip-hoppy ("The Letters"). But given how monochromatic Cohen tends to be, the jumbled feel works in Dear Heather's favor."

"Len's latest album adds cement to the idea that song lyrics are in fact poetry - in this case, mournful, vivid sonnets of bittersweet romance and joyful doom, almost every line an emotional dagger, every dirge here inviting deep thought. That Len surrounds his desiccated voice with the sweetest sounds - female backup singers, angelic choirs, string sections, quaint and quirky arrangements - just throws his wise pronouncements into sharper relief."

"As he grows older, Leonard Cohen gets slower and lower. ... His songs are laid back in the groove further than ever, and his voice is even more impossibly basso profundo. At 70, he's still got that wink in his eye. His songcraft is elegantly and deceptively simple, no wasted motion, almost Zen in the grace and clarity of his language."

2004-10-25

Jim Farber, in his column That's how it goes (New York Daily News, 24/10/04), said that Leonard Cohen's new album produced "a few moments worth savoring from this aging sage."

"On Dear Heather, you'll find less of Cohen than on any of his previous recordings. The songs are shorter, there's more writing by others, and different singers take up more space." "Worse, there aren't any pieces as sweeping as Cohen classics like "Tower of Song" or "Hallelujah"."

"Yet the album has its brief peaks of brilliance. The best of them seem to concentrate Cohen's skills — and take advantage of his advanced years. In "Go No More A-Roving," Cohen matches his music to a Lord Byron poem that addresses the waning of a sex life. ... In "Because Of," he tips his hat to the many women who've bedded him later in life "because of a few songs wherein I spoke of their mystery."

2004-10-24

"His best songs are concerned with the pain and joy of love and lovemaking. As the years have gone by, however, and his libido has been tamed, ... his interest in matters coital appeared to wane. But in Ten New Songs, released in 2001 there was a return to the tender sexiness which was always evident if you cared to listen."

"There is nothing of comparable stature on Dear Heather but it, too, places love at the forefront of Cohen’s consciousness. There are many reminders of his age but few indications that his interest in women will ever be extinguished."

"Leonard Cohen’s eccentric new release is sure to challenge even his most loyal fans."

"Dear Heather is a strange, at times impenetrable, work completed by a respected and masterly writer late in his career."

"In stark contrast to ... Ten New Songs (2001), Dear Heather is underwhelming and incomplete. Ten New Songs showcased ... the gravelly baritone sing-speaking deeply moving poetic verse, set to simple yet emotionally awakening country-folk guitar and piano. Dear Heather offers few flashes of that Cohen brilliance. To get to the gems, Cohen’s fans will have to sift through a fair amount of dirt."

2004-10-22

Alexis Petridis of The Guardian gave "3 stars out of 5" for Leonard Cohen's new album "Dear Heather" (22/10/04).

"Dear Heather demonstrates that age brings with it its own problems, not least the fact that Cohen cannot really sing any more."

"It becomes hard to escape the sensation that Cohen is expending all his energy on the words and losing interest in music, not least on Villanelle For Our Time and to a Teacher, which sound less like songs than poetry recitals set to vague jazz backings."

"The arrangements are frequently ghastly: ... keyboard noises that sound suspiciously like factory settings on a cheap synthesizer, the oily sax imported from a hotel lobby muzak tape."

2004-10-20

All you need to do is specify a directory of many photos as the mosaic pieces, and a background photo, and hey presto, it's done! If you are a smart guy, you can temper with the parameters, but basically, the default parameters will do a pretty good job.

The mosaic shown here (Biei, Hokkaido, Japan) was my second attempt. I know it is amateurish, but what can you expect from such an easy to use program and a dummy like me?

The first attempt looked awful. I guess not all photos are suitable as the background.

Michael Pollan, writing in the 17 Oct edition of the New York Times Magazine - Our National Eating Disorder - argued that the Americans are "a notably unhealthy people obsessed by the idea of eating healthily."

He cited a survey by Rozin and Fischler which found that Americans worry more about food and derive less pleasure from eating than people in any other nation they surveyed.

"Compared with the French, we're much more likely to choose foods for reasons of health, and yet the French, more apt to choose on the basis of pleasure, are the healthier (and thinner) people. ... The French eat all sorts of 'unhealthy' foods, but they do it according to a strict and stable set of rules: they eat small portions and don't go back for seconds; they don't snack; they seldom eat alone, and communal meals are long, leisurely affairs. A well-developed culture of eating, such as you find in France or Italy, mediates the eater's relationship to food, moderating consumption even as it prolongs and deepens the pleasure of eating."

"He [Rozin] and Fischler suggest that our anxious eating itself may be part of the American problem with food, and that a more relaxed and social approach toward eating could go a long way toward breaking our unhealthy habit of bingeing and fad-dieting."

2004-10-17

Having just re-watched the Norwegian original Insomnia (1997), I remembered something I wrote in 2002 comparing it (from memory) to the re-make by Christopher Nolan:

Catch of the Day (11/7/02): Those who like Christopher Nolan's (of "Memento" fame) new film "Insomnia" should try the original version by Erik Skjoldbjaerg. Some films are good, but some are great, and original too!

I guess he himself wants, and the System definitely wants, to bring "Christopher Nolan" firmly into the mainstream. Using Pacino as detective Dormer makes the intention very clear. There is no doubt that Pacino is an outstanding actor. But his very presence in the film makes enjoying the film, and the director's talent, more difficult. Moreover, in order to accommodate this "star", he had to be cast as a famous detective. Just see the awe expressed by Swank. She can even remember some of his famous previous cases!

My opinions:
1. The new Insomia is a good film
2. I would like to see Nolan doing something more original and worthwhile.

2004-10-15

"Google Desktop Search will retrieve your email in Microsoft Outlook and Outlook Express; files in Microsoft Word, Microsoft Excel, Microsoft PowerPoint, and text; your website history in Internet Explorer; and your instant message chats in AOL Instant Messenger. In other words, if you've seen it on your computer screen, Google Desktop Search can likely help you find it. Simply put, it's like a photographic memory for your computer."

Since it is a brand new product (I just installed it 15 minutes ago and it is still indexing my computer), I need time to evaluate how good (or no good) it is. But I already know for sure that at present it does not support searching web pages you've been to using other browsers, like Firefox, which is now my default browser.

Talking about Firefox, I am convinced that it is a superior browser, but I also can't live without IE, since some pages can only be opened by it. Moreover, the fact that the majority of web surfers are IE users means I need to test my own web pages with it. If you are facing the same situation, a tiny "extension" is handy - IE View. If you want to open a page using IE when you are browsing with Firefox, just right click and choose "View this page in IE". Simple.

Having just watched Almodovar's Talk to her, I have two things to say:
(1) This is a masterpiece of modern cinema. Almodovar is Benigno - he may be seen as a weird guy, but when he talks to you with so much love, you can't help but be moved.
(2) I regret having waited for so long before watching it. I thought I knew all his tricks already. But I am wrong.

Yes, we couldn’t help ourselves. This recording has everything a Gramophone reader could want: Britain’s second most tragic female artist (after Kathleen Ferrier, of course); Britain’s second most noble sounding female vocalist (after Kathleen Ferrier, of course); Britain’s most beloved alcoholic conductor; two, count ‘em, two British orchestras, and Britain’s own favorite record label. As long as EMI continues to reissue this recording every six months or so, it will deserve to be Disc of the Year. Nothing else even remotely compares.

2004-10-12

"Because stupid people who are insecure about their own shortcomings think that their God is better everyone else's God, they believe hate is not only great but is also justified based on their religion, and cast their stones at me first, therefore, I must cast bigger stones because my love for my country demands it".

And no doubt people on the other side think along more or less the same line.

"Can there ever really be heaven on earth? And who would you trust to take you there?

Whilst working on a story about Paradise - a foundation that claims to protect abused women - journalist Annika Bengtzon receives a phone call from Aida, a young Bosnian woman who needs help. It's a moment in time - for one a fight for life, for the other a possible story. Annika takes Aida to Paradise but neither Paradise or Aida are what they appear to be ...

As the story unfolds both women are forced to confront their own past. very different, but yet quite similar - two small-town girls who's lives touch for a moment on the streets of Stockholm."

Just like the foundation, there is no glimpse of paradise whatsoever in the film. All characters have either a sad past, or an unhappy present life, or more likely, both.

I suddenly realised that I have been addicted to web surfing for a full decade.

Although I cannot pinpoint the exact date when I first clicked on my PC modem to get connected to the Internet, I clearly remember that not long after I signed on an Internet account from the Canberra chapter of the PC Users Group of Australia, I heard about the introduction of a "browser" named Navigator from Netscape. Being eager to try all the latest and greatest, I downloaded and used it immediately. Since it was October 1994 that Netscape released a beta version of Navigator to the public, I have chosen that month - which was exactly 10 years ago, as the starting point of my web journey.

Unfortunately I also cannot remember when exactly my web site was first written and uploaded. But it must be in 1995, and my "site" then consisted of only one page: "News on China, Hong Kong and Taiwan". So, in a few months time, you may read my blog entry on why I choose a certain month to celebrate "ten years of joetsang.net"

Finally, October 1994 was also a significant date for Chinese-reading web surfers like me. I read somewhere that NJStar (南極星) was born in that month as well. Today's browsers of course can read web sites in practically all languages. That was not the case in the good old days. To read an online Chinese newspaper, an external application must be run to correctly display the Chinese characters. NJStar has always been the best and helped me a lot.

2004-10-05

"[Hayek] helped to establish a freedom-based approach of evaluation through which economic systems can be judged (no matter what substantive judgments we arrive at). ... As someone whose economics (as well as politics) is very different from Hayek's, I would like to ... say how greatly indebted we are to his writings in general and to this book in particular. Dialectics is critically important for the pursuit of understanding, and Hayek made outstanding contributions to the dialectics of contemporary economics."

I have finished reading a novel called The Cello Player by Michael Kruger. The problem is, I don't get it, so there is nothing more I can write about it. But since I have been writing about Freud in this blog in recent days, I just can't resist the temptation to quote two amusing paragraphs from this novel.

"Psychoanalysis and Music" - I attended the lecture often, along with all the pretty students. Why had the petite blonde chosen the harp she pressed so trustingly between her thighs? Why did the stocky, pimply fellow from Munster blow his sparse breath into a trombone? And why did Beethoven decide one day that he did not want to hear his own sounds anymore? Even the issue of whether Schubert had homosexual tendencies troubled my generation. "The Effect of Drive Renunciation on Artistic Archievement" was the seminar everybody wanted to attend. ... A parallel nightmare was the elaborate lecture on "Marxism and Music," another course everybody felt obliged to attend. The climax of those years came when a fusion of the two was offered: "The Influence of Psychoanalysis and Marxism on Musical Development: The Instinctual Life of Sounds as the Expression of the Bad Conscience of Industrial Late Capitalism, as seen in Stravinsky and Schonberg." All obsessive-compulsives, that was clear. How had all these beautiful theories withered aways?

If one were to offer such courses today, thirty years later, one would probably be declared insane. I don't know a single musician who has read more than a line of Freud or Marx. Back then, one had to; there was no excuse not to.

Following on my previous post, here's an essay from the New York Times Magazine (3/10/04) by A.O. Scott - Life without Miramax? - discussing what will happen to indie film if Miramax dies.

According to Scott, what Miramax "did was not primarily to cultivate the public's taste for exotic or adventurous films, but rather to revive the tradition of prestige filmmaking that the studios had allowed to languish in their pursuit of franchisable blockbusters, overseas receipts and cross-media synergy."

But now, every major studio has its own specialty divisions. "And there is a critical mass of small, brave, genuinely independent outfits - Palm Pictures, ThinkFilm, IFC and Wellspring, to name a few - dedicated to expanding, and challenging, the film audience. They generally lack neither taste nor marketing savvy."

Scott's conclusion is therefore "indie cinema, or whatever you want to call it, will continue to live and die, but there won't be a real New Yorker [Harvey Weinstein], or at least a Hollywood fantasy version of one, around to claim credit or invite blame."

2004-10-03

Just finished reading (though not finished) Down and Dirty Pictures - Miramax, Sundance, and the Rise of Independent Film by Peter Biskind. It is about the emergence of independent films in the US since the late 1980s. It has a strong focus on the roles played by Miramax, the Sundance Film Festival and independent filmmakers such as Steven Soderbergh and Quentin Tarantino. If you think all US films are of the Hollywood studio-made big-budget type, reading this book should enrich your knowledge about this all-conquering industry.

As to why I failed to finish this book? Because it "is loaded with vibrant anecdotes and outrageous stories, all of it blended into a fast-moving narrative" (from the blub on the book jacket), and this style - I might call it the Hollywood trash style - puts me off.